From 1960’s and on to 1970s, free improvisation in music quickly increase across the United States, Europe, and East Asia directly influencing all diverse styles of music, in particular rock and roll. During 1970s, free improvisation developed into a global trend. Several Japanese players such as saxophonist Kaoru Abe and the guitarist Masayuki Takayanagi dealt with to spreading this variety of music across all Asian countries. Another marked point in the history of developing of free improvisation is the establishment of the Company Week, that is a festival which lasted in 1976 until 1994 and arrange live musicians, who frequently worked together for the first time ever. This festival became an answer to until that time held point of view by players that performers required years of practice in order to successfully collaborate together. The general feeling of the festival resulted in many comparable events spreading quick across the world.
One of the most recent kindling of free music is the electro-acoustic improvisation which is described as a quiet and slow moving with following minimalist textures. Performers often use computers to re-establish the sounds they have in their mind. Electro-acoustic improvisation is noticeably different from every one of other previous structures of improvisation, since opportunities for making music opened by notebook computers are huge, while the method itself is unique.
Free improvisation not just a genre in music. Being the definitive source of the impression of music, free improvisation is the original source of all varieties which are present today: it is in closely cooperates with all styles. Being footed on instinct and leaving no place for unvarying thinking inside an expression, free music lets a composer-performer to make known the true self and consistently create a modern idiom. Free improvisation is much more then just a genre, because it is a basis of revelation.
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